Named just after Swedish botanist and zoologist, Carl Linnaeus, Veronica Lenza’s Milan-centered Linneo model mixes gold and porcelain onto which she has hand-painted miniature drawings of vegetation and animals. Acquiring researched great artwork and art record at Brera Academy in Milan and artwork, film and photography at London’s Kingston College, the Brescia-born, self-experienced jeweler collaborates with Milanese craftsmen to manufacture her 1-off handmade items.
How did you get there at this calling? How and when did you turn into interested in jewelry, and when did you know you required to be a jewelry designer?
Jewelry making, for me, is a means, not an close in truth, I would not say I have a vocation for this profession, but that I uncovered in jewelry the context for my explorations. It all started off from my drawings I have been projecting photographs onto bodies, sketching very small scenes and topics around fingers, ears, wrists, legs. I in no way assumed of these levels as separated objects from the human body, not even as different objects involving them they were a discourse, a visible chant, a development of tips. I preferred that they ended up usually less than my eyes, intercepting sights when I was gesturing and chatting, even when distracted. Those people drawings have been there to give glimpses of leisure, also when you did not feel about their existence. When I started off thinking of making jewels, it had a useful objective: a framework for my ideas and a way of donning and then taking away them.
What are your sources of inspiration? How are you adopting a various approach and mentality to jewelry earning, absent from traditional jewelry?
My major supply of inspiration is the urgency to imagine about our planet’s amazing and surprising prevalent heritage. I normally start out from nature, an inexhaustible supply of shock and feelings, deserving of all our respect. I also glimpse to artifacts created by prehistoric humans: objects and individual ornaments symbolizing the habits, discoveries and first sorts of spirituality, and often acquiring a symbolic conversation operate. I’m even now near to this plan. I’m a jewellery designer since I develop an item classified as a jewel. Still, each individual jewel is aspect of a entire. They can barely be separated from each other, like terms. They have their that means, but they are a unitary discourse for me. The idea of the title Linnaeus (August Strindberg wrote: “Linnaeus was in reality a poet who occurred to develop into a naturalist.”) also arrives from this. The concept of cataloguing, building a semantics of relationships or associating by subtraction or similarity.
What is your solution to gold, and how is this reflected in your jewellery creations?
Gold was often used to fill in backgrounds in paintings. As unearthly light, gold leaf was linked with the sunshine and at the same time a image of incorruption and immutability, of every thing sacred and eternal. These characteristics are tangible when you get started functioning with it and master its physical attributes that make it a image and a make a difference of needs. My solution is nominal I try out to give a form and reduce end. In actuality, I like gold’s presence: in a globe wherever lightness is a advertising keyword, it resists and has an ancestral energy merely by its precise fat.
Exactly where do you resource your gold? Is it moral or recycled gold? Is this important to you?
I rescue jewels that are hopeless. I desire to accelerate the recapture of the that means of used gold by framing new tales all over it. My do the job does not goal to restore a lost past, but as a substitute proposes to go into a future the place assets are finite. I imagine a round overall economy is a obligation for most people who produces dresses, goods or jewels. We have to minimize usage, be imaginative about how to rework what we don’t use any more and benefit the record of objects and materials on their own. New gold is wonderful and I use it at times, but I consider that the good quality of the product lies in its intrinsic capability of remaining recast and remolded.
What new modern tactics or technologies do you integrate in your jewelry making, and who are the artisans you work with?
I mix ceramics and gold. Both equally are fascinating supplies in lots of methods, but what presents me fantastic pleasure is the magic that is designed in their union. The contrast involving the opacity of unpolished gold and the iridescent sheen of glazed ceramic becomes an all-spherical esthetic part. It interprets into an unparalleled marriage between embellished porcelain and important metal. I consider I can only realize some details by making use of my palms. Anything handmade is not ideal, so far more intriguing than a super best, tremendous shiny piece, identical to a lot of other people. I make a person-of-a-form jewels.